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Sean B Sean B is offline
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Default Stereo-izing a Mono Signal

Hello,

Any votes as to what is the best sounding technique for getting a mono signal to have some width, if the event was not recorded in stereo? The Eventide H910? Plugins?

Thanks,

Sean B
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[email protected] makolber@yahoo.com is offline
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Default Stereo-izing a Mono Signal

On Wednesday, May 30, 2018 at 3:31:36 PM UTC-4, Sean B wrote:
Hello,

Any votes as to what is the best sounding technique for getting a mono signal to have some width, if the event was not recorded in stereo? The Eventide H910? Plugins?

Thanks,

Sean B


what is the nature of the content?
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Sean B Sean B is offline
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Default Stereo-izing a Mono Signal

On Wednesday, May 30, 2018 at 2:35:15 PM UTC-5, wrote:
On Wednesday, May 30, 2018 at 3:31:36 PM UTC-4, Sean B wrote:
Hello,

Any votes as to what is the best sounding technique for getting a mono signal to have some width, if the event was not recorded in stereo? The Eventide H910? Plugins?

Thanks,

Sean B


what is the nature of the content?




I was thinking of isolated signals on a multitrack: vocals, guitars, etc.

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Scott Dorsey Scott Dorsey is offline
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Default Stereo-izing a Mono Signal

Sean B wrote:

Any votes as to what is the best sounding technique for getting a mono signal to have some width, if the event was not recorded in stereo? The Eventide H910? Plugins?


Anything that involves a mild comb filter... the Orban stereo Synthesizers
were the first devices to do the job, but there are plenty of copies of the
method. It sums to mono, so in the end it does no harm, and it does give
a vague sense of a diffuse sound field instead of a tight mono image in
center.

It's not a bad trick for widening individual sources going into a mix, although
to use it on an entire recording seems a bit heavy-handed to me.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."
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James Price[_5_] James Price[_5_] is offline
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Default Stereo-izing a Mono Signal

On Wednesday, May 30, 2018 at 2:31:36 PM UTC-5, Sean B wrote:
Hello,

Any votes as to what is the best sounding technique for getting a mono signal to have some width, if the event was not recorded in stereo? The Eventide H910? Plugins?


Brainworx Stereomaker does this convincingly well and the result sums to
mono.


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Nate Najar Nate Najar is offline
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Default Stereo-izing a Mono Signal

I like a tight room reverb. I have a preset in Soonnox reverb I made to do just that. Stereo room 2016 does it nicely too and of course the bricasti does it beautifully. It depends on the source what is the best approach.
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geoff geoff is offline
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Default Stereo-izing a Mono Signal

On 31/05/2018 9:16 AM, Scott Dorsey wrote:
Sean B wrote:

Any votes as to what is the best sounding technique for getting a mono signal to have some width, if the event was not recorded in stereo? The Eventide H910? Plugins?


Anything that involves a mild comb filter... the Orban stereo Synthesizers
were the first devices to do the job, but there are plenty of copies of the
method. It sums to mono, so in the end it does no harm, and it does give
a vague sense of a diffuse sound field instead of a tight mono image in
center.

It's not a bad trick for widening individual sources going into a mix, although
to use it on an entire recording seems a bit heavy-handed to me.
--scott


How about copy the track, slide it in time a ms or so , pan it a little
different, and do slightly different EQ on each.

geoff
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John Williamson John Williamson is offline
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Default Stereo-izing a Mono Signal

On 30/05/2018 20:31, Sean B wrote:
Hello,

Any votes as to what is the best sounding technique for getting a mono signal to have some width, if the event was not recorded in stereo? The Eventide H910? Plugins?


Depending on the source, a couple of methods spring to mind. Scott's
mild comb filter method is one.

If it was originally a point source such a guitar or voice, then feeding
two instances of it into a ray tracing reverb, with the virtual source
in slightly different locations will give differing reverb tails on each
of the stereo reverb channels, then feeding the original dry point
source and the wet mixes back into the final mix, will spread the "room
sound" but maintain the point source. If it was a wide source such as a
piano, then giving the virtual sources mild low and high pass filtering
and mixing the reverberant result back into the mix with a small
difference in levels will stretch the sound across as much of the field
as you wish.

--
Tciao for Now!

John.
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Scott Dorsey Scott Dorsey is offline
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Default Stereo-izing a Mono Signal

geoff wrote:
On 31/05/2018 9:16 AM, Scott Dorsey wrote:
Sean B wrote:

Any votes as to what is the best sounding technique for getting a mono signal to have some width, if the event was not recorded in stereo? The Eventide H910? Plugins?


Anything that involves a mild comb filter... the Orban stereo Synthesizers
were the first devices to do the job, but there are plenty of copies of the
method. It sums to mono, so in the end it does no harm, and it does give
a vague sense of a diffuse sound field instead of a tight mono image in
center.

It's not a bad trick for widening individual sources going into a mix, although
to use it on an entire recording seems a bit heavy-handed to me.


How about copy the track, slide it in time a ms or so , pan it a little
different, and do slightly different EQ on each.


Doesn't sum to mono very well at all. The key to the Orban method is
excellent mono compatibility and no real change in tonality.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
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[email protected] makolber@yahoo.com is offline
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Default Stereo-izing a Mono Signal

On Wednesday, May 30, 2018 at 3:45:00 PM UTC-4, Sean B wrote:
On Wednesday, May 30, 2018 at 2:35:15 PM UTC-5, wrote:
On Wednesday, May 30, 2018 at 3:31:36 PM UTC-4, Sean B wrote:
Hello,

Any votes as to what is the best sounding technique for getting a mono signal to have some width, if the event was not recorded in stereo? The Eventide H910? Plugins?

Thanks,

Sean B


what is the nature of the content?




I was thinking of isolated signals on a multitrack: vocals, guitars, etc.


if you have isolated multitracks and each one is mono, that is the normal situation.

when you mix them together:

pan each signal to the left or right to taste

also you can add reverb to the individual tracks and or to the combined mix.

note most reverbs can take a mono signal in and put out a stereo signal.

mark


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Les Cargill[_4_] Les Cargill[_4_] is offline
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Default Stereo-izing a Mono Signal

Sean B wrote:
On Wednesday, May 30, 2018 at 2:35:15 PM UTC-5, wrote:
On Wednesday, May 30, 2018 at 3:31:36 PM UTC-4, Sean B wrote:
Hello,

Any votes as to what is the best sounding technique for getting a mono signal to have some width, if the event was not recorded in stereo? The Eventide H910? Plugins?

Thanks,

Sean B


what is the nature of the content?




I was thinking of isolated signals on a multitrack: vocals, guitars, etc.



Just leave them mono.

You can play games with delays within the Haas limit but it reduces the
overall power of the part and eats bandwidth.

I wrote a program that takes a mono .wav file and performs a
Hilbert transform on it. That gives out a constant 90 degree
phase shift in the right channel, relative to the left channel
( the output is 2 channels ).

I wouldn't use it on anything I cared about. It's kind of interesting,
but a mono track really works better.

--
Les Cargill


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